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Journal articles on the topic 'Hatshepsut'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Whitman, Ruth. "Hatshepsut." Women's Review of Books 9, no. 4 (1992): 19. http://dx.doi.org/10.2307/4021161.

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2

Stupko-Lubczynska, Anastasiia. "What an artist saw. Tracing the local iconographic tradition for the Temple of Hatshepsut at Deir el-Bahari." Polish Archaeology in the Mediterranean, no. 30/1 (December 31, 2021): 187–214. http://dx.doi.org/10.31338/uw.2083-537x.pam30.1.09.

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An unusual iconographic motif—a fringed piece of linen—depicted in the Chapel of Hatshepsut, part of the queen’s temple at Deir el-Bahari, is examined in this paper as an illustration of the interest, well attested in Hatshepsut’s reign, in past artistic models/sources. The Chapel of Hatshepsut was intended for the mortuary cult of the female pharaoh, while the motif under discussion appears to have been inspired by decoration earlier by 500 years, found inside a burial chamber cut into the rock cliff of North Asasif, which is a natural continuation of the Deir el-Bahari amphitheater. The tomb

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3

Robins, Gay. "The Names of Hatshepsut as King." Journal of Egyptian Archaeology 85, no. 1 (1999): 103–12. http://dx.doi.org/10.1177/030751339908500107.

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Although for most of her reign Hatshepsut was depicted with the traditional image of a male king, the names that she used as king were formed with grammatically feminine participles, thus openly acknowledging her female status. In addition, these names were deliberately constructed to incorporate references to goddesses, references that were probably intended to allude to Hatshepsut's divine aspect as king and to reinforce the legitimacy of her rule. The inclusion of these divine references was only possible because of the feminine participles used, and this type of wordplay is not, therefore,

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4

Sankiewicz, Marta. "The iconography of co-rule at Deir el-Bahari: Hatshepsut and Tuthmosis III in the Statue Room of the Main Sanctuary of Amun." Polish Archaeology in the Mediterranean XXIV, no. 2 (2016): 161–68. http://dx.doi.org/10.5604/01.3001.0010.0181.

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Hatshepsut and Tuthmosis III were represented as seemingly equal kings on the side walls of the Second Room of the Main Sanctuary of Amun in the Temple of Hatshepsut in Deir el-Bahari. Iconographic analysis reveals the relationship between the two rulers, demonstrating the different and discreet ways in which Hatshepsut emphasized her dominant position and Tuthmosis’s secondary one during their co-rule. The quality of the representations is just as crucial as their number for understanding their relationship. Hatshepsut used among others the symbolism of the cardinal points, orientation of fig

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5

Wong, Jun Yi. "The afterlife of Hatshepsut’s statuary." Antiquity 99, no. 405 (2025): 746–61. https://doi.org/10.15184/aqy.2025.64.

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The statuary of Hatshepsut, who ruled Egypt during the Eighteenth Dynasty, is believed to have been targeted for violent destruction by Thutmose III, her successor. Yet the condition of the statues recovered in the vicinity of Hatshepsut’s mortuary temple at Deir el-Bahri varies considerably and many survive with their faces virtually intact. Through the examination of archival material from the original excavations, the author offers an alternative, more utilitarian, explanation of the treatment of these statues. Rather than outright hostility, much of the damage may instead derive from the ‘

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6

Teeter, Emily. "Hatshepsut and Her World." American Journal of Archaeology 110, no. 4 (2006): 649–53. http://dx.doi.org/10.3764/aja.110.4.649.

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7

زکي, محمد محمد. "Foremost of Noble Ladies Hatshepsut." دورية کان التاريخية: المستقبل الرقمي للدراسات التاريخية 2, no. 3 (2009): 37–40. http://dx.doi.org/10.21608/kan.2009.99236.

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8

Feinman, Peter. "Hatshepsut: From Queen to Pharaoh." History: Reviews of New Books 34, no. 2 (2006): 63. http://dx.doi.org/10.1080/03612759.2006.10526826.

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9

Braulińska, Kamila. "Mammals in the iconography of the Temple of Queen Hatszepsut: introduction to the project." Polish Archaeology in the Mediterranean 26, no. 1 (2018): 219–26. http://dx.doi.org/10.5604/01.3001.0012.1778.

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The project “Mammals in the iconography of the Temple of Queen Hatshepsut”, initiated by the author in the 2011/2012 season, encompasses a detailed documentation of the animals depicted in various parts of Hatshepsut’s temple in Deir el-Bahari as a prerequisite for in-depth research. The study follows a multi-disciplinary approach within faunal analysis, and is complemented with technological observations on the execution of relief representations from the temple. At this stage of the project, a general taxonomic identification of the animal representations is nearly complete and a further det

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10

Laporta, Virginia. "La transición ontológica del sujeto ritual: una aproximación a la figura regia de Hatshepsut (c. 1473–1458 a. C.)." El Futuro del Pasado 4 (May 30, 2013): 297–314. http://dx.doi.org/10.14201/fdp.24758.

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En este trabajo analizaremos la transición de Hatshepsut (c. 1473 – 1458 a. C.), al convertirse de reina en el rey dual (nsw bjtj) egipcio. Para lograrlo, consideraremos la forma de pensamiento de los egipcios centrada en lo sagrado y expresada a partir de mitos y ritos. En particular, nos detendremos en los ritos de pasaje y su vínculo con las relaciones entre el rey y Amón-Ra, los roles intercambiables de Hatshepsut así como la transición post-mortem de su figura regia.

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11

Pawlicki, Franciszek. "Four seasons of documentation in the Main Sanctuary of Amun-Re in the Temple of Hatshepsut at Deir el-Bahari." Polish Archaeology in the Mediterranean 25 (May 15, 2017): 303–14. http://dx.doi.org/10.5604/01.3001.0010.1863.

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Four seasons of documentation have supplied pertinent data to indicate that the Main Sanctuary of Amun-Re in the Temple of Hatshepsut in Deir el-Bahari was perceived from a theological perspective as a cult place for the local form of Foremost of +sr-Dsrw and for the royal worship of Hatshepsut connected with it. The latter aspect was of sufficient significance to warrant twice a far-going modification of the decoration of the tympanum of the east wall of the Bark Hall, influencing the way the Inner Sanctuary was illuminated.

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12

Price, Campbell. "A New Statue of Senenmut Identified in Manchester." Journal of Egyptian Archaeology 104, no. 2 (2018): 229–36. http://dx.doi.org/10.1177/0307513319869187.

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Publication of the fragmentary lower portion of a limestone seated statue, now in the Manchester Museum (acc. no. 4624), from the 1907 EEF excavations at Deir el-Bahri. Although the name of the individual is not preserved, surviving titles, phraseology and the assertion that the statue was given m ḥswt nt ḫr ḥmt-nṯr ‘as favour of the God’s Wife’ allow the piece to be identified as belonging to Senenmut, the well-known courtier of Queen Hatshepsut, and dates it to the early part of his career before Hatshepsut assumed full kingship.

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13

Kucharczyk, Renata. "(Un)usual? Glass finds from the site of the Hatshepsut Temple in Deir el-Bahari." Polish Archaeology in the Mediterranean, no. 30/1 (December 31, 2021): 105–26. http://dx.doi.org/10.31338/uw.2083-537x.pam30.1.0.

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A group of glass shards recovered from the fill of shaft tombs from the Third Intermediate Period on the Upper Terrace of the Temple of Hatshepsut in Deir el-Bahari consists for the most part of non-diagnostic body vessel fragments. At least 17 different vessels are attested in this assemblage, assigned to the 4th century AD, with only two pieces dated to the 1st–3rd centuries AD. In addition to the vessels, a few windowpanes from the 6th–8th century AD were also found. This small group of glass finds is the first ever to be published from the Temple of Hatshepsut.

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14

Dodson, Aidan. "Hatshepsut and ‘her father’ Mentuhotpe II." Journal of Egyptian Archaeology 75, no. 1 (1989): 224–26. http://dx.doi.org/10.1177/030751338907500120.

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15

Dodson, Aidan. "Hatshepsut and 'Her Father' Mentuhotpe II." Journal of Egyptian Archaeology 75 (1989): 224. http://dx.doi.org/10.2307/3821913.

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16

Robins, Gay. "The Names of Hatshepsut as King." Journal of Egyptian Archaeology 85 (1999): 103. http://dx.doi.org/10.2307/3822429.

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17

kamal, samar, and Samar kamal. "Queen Hatshepsut and the Opet Festival." Minia Journal of Tourism and Hospitality Research MJTHR 11, no. 1 (2021): 83–92. http://dx.doi.org/10.21608/mjthr.2021.81510.1010.

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18

Diamond, Kelly‐Anne. "Hatshepsut: Transcending Gender in Ancient Egypt." Gender & History 32, no. 1 (2020): 168–88. http://dx.doi.org/10.1111/1468-0424.12462.

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19

Creasman, Pearce Paul. "Hatshepsut and the Politics of Punt." African Archaeological Review 31, no. 3 (2014): 395–405. http://dx.doi.org/10.1007/s10437-014-9160-9.

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20

Kopp, Edyta. "The gods bestow life. New material for the study of divine processions in the Vestibule of the Chapel of Hatshepsut in Deir el-Bahari." Polish Archaeology in the Mediterranean 27, no. 2 (2018): 275–89. http://dx.doi.org/10.5604/01.3001.0013.3305.

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The decoration of the Vestibule of the Chapel of Hatshepsut in the queen’s temple in Deir el-Bahari resembles the decoration of the square antechamber known from the pyramid temples of the Old and Middle Kingdoms. However, the original decorative program of the vestibule, especially with regard to the processions of divinities, is obscured by changes and damage attributable to different periods. Two new blocks, proposed for the west wall of the vestibule, contribute new information on the relief decoration from the time of Hatshepsut. Egyptological studies of the decoration of the vestibule ha

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21

Karlshausen, Christina, and Thierry De Putter. "From Limestone to Sandstone – Building Stone of Theban Architecture During the Reigns of Hatshepsut and Thutmosis III." Journal of Egyptian Archaeology 106, no. 1-2 (2020): 215–27. http://dx.doi.org/10.1177/0307513320978411.

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This paper reviews the monuments built in the Theban area during the reigns of Hatshepsut and Thutmosis III, and their stone materials. This period witnessed a shift from limestone to sandstone in the second part of the Hatshepsut coregency with Thutmosis III, when the queen commissioned an ambitious architectural program. In his autonomous reign, Thutmosis III reused limestone in various monuments, possibly to distance himself from the queen’s choices, and to connect his reign with those of their glorious predecessors in the Middle Kingdom (Mentuhotep II at Deir el-Bahari; Senusret III at Med

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22

Campbell, Roselyn A. "Preliminary assessment of human remains from the Temple of Hatshepsut at Deir el Bahari." Polish Archaeology in the Mediterranean 27, no. 2 (2018): 117–28. http://dx.doi.org/10.5604/01.3001.0013.3199.

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Excavations over the course of many seasons by the Polish-Egyptian Mission in the Temple of Hatshepsut at Deir el-Bahari have revealed the presence of multiple intrusive burials within and around the temple structure itself. These burials are dated much later than the construction of Hatshepsut’s temple, most of them seemingly from the Third Intermediate Period, and have been heavily disturbed over the millennia. This article presents a preliminary assessment of human remains from some of these burials. The remains are highly fragmentary and in varying states of preservation, from mummified to

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23

Józefowicz, Ewa. "The West Wall of the Portico of Obelisks in Hatshepsut's Temple in 2018 and 2019: conservation and studies." Fieldwork and Research, no. 28.2 (December 28, 2019): 343–57. http://dx.doi.org/10.31338/uw.2083-537x.pam28.2.19.

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The longest, west wall of the South Lower Portico (Portico of Obelisks) of the Temple of Hatshepsut at Deir el-Bahari has been reassessed in terms of its current state, compared to the original documentation by Edouard Naville, as an opening step to the author’s research project organized within the frame of the larger University of Warsaw Temple of Hatshepsut research program. A considerable number of blocks from the wall, including unpublished fragments, was tracked down in storage in the various temple blockyards and storerooms. About two-thirds of the wall decoration underwent conservation

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24

Szafrański, Zbigniew. "Remarks on royal statues in the form of the god Osiris from Deir el-Bahari." Polish Archaeology in the Mediterranean 27, no. 2 (2018): 375–89. http://dx.doi.org/10.5604/01.3001.0013.3309.

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This article recapitulates information available, and mostly not published yet, on the statues in the form of the god Osiris from the Upper (Coronation) and Lower Porticoes of the Temple of Hatshepsut at Deir el-Bahari. This includes the North and South Colossi, both of which were recently restored in a pilot reconstruction project undertaken by the Polish team, revising a missed restoration attempt by earlier excavators. Other examples include a sandstone painted statue of Amenhotep I, from Asasif, in the form of the mummiform figure of the god Osiris, which was also reconstructed, a fragment

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25

Abd Elghany, Alya, Ahmed Mostafa Osman, and Rehab Mahmoud Elsharnouby. "The Two Princesses Neferurê and Meryê-Hatshepsut." مجلة کلیة السیاحة والفنادق. جامعة المنصورة 11, no. 5 (2022): 1–33. http://dx.doi.org/10.21608/mkaf.2022.259472.

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26

Zerón, Agustín. "El molar de Hatshepsut, la reina faraón." Revista de la Asociación Dental Mexicana 80, no. 6 (2023): 303–6. http://dx.doi.org/10.35366/113918.

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27

Joseph, Amgad. "An Unpublished Stela of Nedjesankh/Iew and His Family (CG 20394/JE 15107)." Journal of the American Research Center in Egypt 55 (November 22, 2019): 67–84. http://dx.doi.org/10.5913/jarce.55.2019.a005.

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This article is the publication of a stela from Abydos that will be exhibited in the Grand Egyptian Museum, Giza (CG 20394/JE 15108). The stela can be dated to early in the first part of the Thirteenth Dynasty, probably in the reign of King Ameny-Qemau, on the grounds of its stylistic, phraseological, iconographic, and epigraphic details. It is the only monument that records the names of Queen Nofret, who may have been the wife of Ameny-Qemau and their daughter Princess Hatshepsut. It documents the marriage between Hatshepsut and the stela’s owner, the 'tw n tt ha', Commander of the [Ruler’s]

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28

Kasprzycka, Katarzyna. "Reconstruction of the bases of sandstone sphinxes from the Temple of Hatshepsut at Deir el-Bahari." Fieldwork and Research, no. 28.2 (December 28, 2019): 359–87. http://dx.doi.org/10.31338/uw.2083-537x.pam28.2.20.

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The reconstruction of the iconographic program of the decoration of the sandstone bases of a group of sphinxes of Hatshepsut lining the processional avenue leading to the Queen’s Mansion of a Million Years in the temple at Deir el-Bahari is the prime focus of this article. The fragments of these statues discovered in the 1920s by the archaeological mission of the Metropolitan Museum of Art in New York were never published. The pieces were rediscovered in storage in 2005. A theoretical reconstruction has been undertaken, leading the author to identify an unusual iconographical pattern that refl

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Robledo, Sergio Alarcón. "The original arrangement of the Upper Courtyard of the Temple of Hatshepsut in the light of recent archaeological results." Polish Archaeology in the Mediterranean 27, no. 2 (2018): 17–32. http://dx.doi.org/10.5604/01.3001.0013.3170.

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The Temple of Hatshepsut was in use, and frequently modified, between the 16th century BC and the 12th century AD. From the beginning of the archaeological work at the site in the 19th century, one of the primary research goals has been to understand the modifications made to the building since its initial construction. The present paper provides an overview of the different arguments and ideas proposed for the original configuration of the Upper Courtyard, confronted with evidence from recent excavations between 2014 and 2016 in different parts of the court. In 2000, architect Andrzej Kwaśnic

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Taterka, Filip. "Hatshepsut’s Punt Reliefs: Their Structure and Function." Journal of the American Research Center in Egypt 55 (November 22, 2019): 189–203. http://dx.doi.org/10.5913/jarce.55.2019.a012.

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The article examines the layout of Hatshepsut’s Punt reliefs, proposing a new interpretation of their internal structure and ideological function within the decorative programme of the Deir el-Bahari temple. The author argues that the reliefs form a cycle of subsequent scenes, starting at the southernmost end of the west wall, continuing through the south wall up to the northern part of the west wall. As for the scenes represented on the northernmost end of the west wall and on the north wall, it is argued that they should be viewed as forming a single ideological entity, which at the same tim

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31

Camilo, Daniela. "Hatshepsut – A construção de uma imagética de poder faraônico." Revista de Estudos Filosóficos e Históricos da Antiguidade 41 (May 2, 2024): e024003. http://dx.doi.org/10.53000/cpa.v41i00.18710.

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Este trabalho visa abordar a imagética que Hatshepsut usou para se legitimar como faraó sobre o Egipto. Vamos também tentar entender porque cerca de duas décadas após o seu desaparecimento, houve uma tentativa de eliminação da sua memória eterna por parte dos faraós seguintes.

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Ćwiek, Andrzej. "Ha in Sheta." Polish Archaeology in the Mediterranean XXIV, no. 2 (2016): 83–92. http://dx.doi.org/10.5604/01.3001.0010.0176.

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The coronation cycle in the Portico of the Birth in the temple of Deir el-Bahari includes a scene of purification of Hatshepsut by a god captioned as Ha in Sheta. This seemingly hapax toponym provides the key to a proper understanding of the highly symbolic meaning of the scene. The place name, composed of basic cosmographical hieroglyphs, has at the same time a spelling that refers to a vast semantic field of the notions of “mystery”, “secret”, “be hidden”, etc. It appears that the purification made by a god of the western desert in a “mysterious” place refers to the initiation of the female

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Chudzik, Patryk, Ahmed-Reda M. El Younsy, Wael F. Galal, and Abdelhamid M. Salman. "Geological appraisal of the Theban cliff overhanging the Hatshepsut temple at Deir el-Bahari." Polish Archaeology in the Mediterranean, no. 30/1 (December 31, 2021): 275–95. http://dx.doi.org/10.31338/uw.2083-537x.pam30.1.02.

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Throughout its existence the Temple of Hatshepsut, as well as two other royal sanctuaries, the temples of Mentuhotep II and Thutmose III, located in the great bay of Deir el-Bahari, have been under constant threat of falling rocks from the overhanging Theban cliff. The PCMA UW archaeological expedition at Deir el-Bahari, which has progressed with the study and conservation of the Hatshepsut temple since the 1960s, has implemented a project designed to address the issue of the protection of the temple from damages that could be caused by environmental processes (rainwater and seismic activity)

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Dziedzic, Teresa, and Mieczysław Michiewicz. "Research of the Theban limestone: The case of Temple of Hatshepsut in Deir el-Bahari." E3S Web of Conferences 49 (2018): 00021. http://dx.doi.org/10.1051/e3sconf/20184900021.

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Authors of this article wish to collect previous research and broaden knowledge about limestone used for construction of the Temple of Hatshepsut and present results of the latest studies. The main purpose of the studies was to obtain information about tensile strength when bending architectural elements made of limestone. It will allow - among others - the span of architraves on which vault blocks, architrave and ceiling slabs with cornices and railings to be established, as well as their acceptable strength parameters. Theban limestone research most often focuses on the geological origin of

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Dziedzic, Teresa. "Transporting false doors at the construction site of the Temple of Hatshepsut at Deir el-Bahari." Polish Archaeology in the Mediterranean 27, no. 2 (2018): 129–41. http://dx.doi.org/10.5604/01.3001.0013.3201.

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The article presents a probable way of transporting false doors to their location within the Temple of Hatshepsut during its construction. The issue does not seem to be of particular significance until one considers the value of the false doors as such and the impossibility of using heavy equipment in the chapels of the Complex of the Royal Mortuary Cult. The false doors had to be introduced into the construction site at the time that the walls of the chapel were being raised but before the building of the vaults. The options discussed in the article illustrate the logistical problems of the u

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Sheikholeslami, Cynthia May. "Montu priestly families at Deir el-Bahari in the Third Intermediate Period." Polish Archaeology in the Mediterranean 27, no. 2 (2018): 325–63. http://dx.doi.org/10.5604/01.3001.0013.3310.

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The mostly intact Twenty-fifth Dynasty qrsw-coffin sets of Heresenes and the Montu priests Padiamunet (iii) and Nespaqashuty (vi) were discovered on the Upper Terrace at Deir el-Bahari by Émile Baraize in 1932–1933, but were never fully studied or published. The Twenty-second Dynasty intact cartonnage of the Hsyt n Xnw n imn Shaamunimes (Cairo TR 21.11.16.5) was purchased in Gurna in 1893, said to come from Sheikh Abd el-Gurna. Other coffin and cartonnage fragments belonging to the Montu priests and Hsyt n Xnw n imn were found in recent excavations on the upper terrace of the Hatshepsut temple

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Bolshakov, Vladimir A. "The King’s Daughter Neferura: Eventual Heiress of Hatshepsut?" Chronique d'Egypte 89, no. 178 (2014): 248–68. http://dx.doi.org/10.1484/j.cde.5.103551.

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Barwik, Miroslaw. "Dipinti in the relieving chamber above the Bark Hall of the Hatshepsut Temple at Deir el-Bahari." Polish Archaeology in the Mediterranean 27, no. 2 (2018): 33–49. http://dx.doi.org/10.5604/01.3001.0013.3171.

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The paper presents ancient dipinti, both hieroglyphic and hieratic, traced in the relieving chamber above the Bark Hall of the Hatshepsut temple in Deir el-Bahari. The material is linked mainly to a group of builders, most probably draftsmen, engaged in the building operations at the site of the temple.

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Bondarenko, Natalia. "THE PHENOMENON OF THE REIGN OF FEMALE PHARAOHS HATSHEPSUT AND TAUSERT. LEGITIMATION OF POWER." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 156 (2023): 5–11. http://dx.doi.org/10.17721/1728-2640.2023.156.1.

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Introduction. This article explores the phenomenon of female pharaohs' reign in Ancient Egypt, focusing on the rule of Hatshepsut and Tausert during the New Kingdom. The research delves into the historical context, cultural significance, and peculiarities of power legitimization during their reigns. By analyzing primary sources, including inscriptions, statues, and archaeological artifacts, this study aims to shed light on the unique circumstances that allowed these women to ascend the throne in a society traditionally dominated by men. The accession of Queen Hatshepsut, 18th Dynasty, challeng

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Szafrański, Zbigniew E. "Tombs of Coptic anchorites at the site of the Temple of Hatshepsut in Deir el-Bahari." Polish Archaeology in the Mediterranean, no. 30/1 (December 31, 2021): 243–54. http://dx.doi.org/10.31338/uw.2083-537x.pam30.1.12.

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Early Coptic tombs, two at least, were discovered on the Upper Terrace of the Temple of Hatshepsut at Deir el-Bahari. The orientation of the tombs is north–south, which is the typical orientation for early Christian tombs. Christian activity is attested at Deir el-Bahari in contexts starting from the 4th century.

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Szafrański, Zbigniew E. "Tombs of the Third Intermediate Period on the Upper Terrace of the Temple of Hatshepsut." Polish Archaeology in the Mediterranean XXIV, no. 2 (2016): 183–204. http://dx.doi.org/10.5604/01.3001.0010.0183.

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A newly discovered necropolis on the Upper Terrace of the Temple of Hatshepsut was in use from the Twenty-second until the beginning of the Twenty-sixth Dynasty. The archaeological material coming from the backfill of the tombs proved to be mixed but datable. Interesting observations concern the structure and architecture of the tombs and their substructure.

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Janick, Jules. "Plant Exploration: From Queen Hatshepsut to Sir Joseph Banks." HortScience 42, no. 2 (2007): 191–96. http://dx.doi.org/10.21273/hortsci.42.2.191.

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The worldwide exchange of fruits has been facilitated by traders, travelers, sovereigns, conquerors, diplomats, missionaries, and botanists. The beginnings of organized plant exploration date to the Pharaohs of ancient Egypt, who, as early as 2000 bce, brought back exotic trees and plants in their foreign campaigns and illustrated them on their temple walls. Queen Hatshepsut (ca. 1500 bce) sent out ships to bring back trees from the land of Punt (northeast African coast). The exchange of plants throughout antiquity was a by-product of trade routes between East and West as well as though the ca

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Dziedzic, Teresa, Wojciech Bartz, and Maria Gąsior. "Mineralogical characteristic of mortars from the Temple of Hatshepsut at Deir el-Bahari: preliminary report." Polish Archaeology in the Mediterranean XXIV, no. 2 (2016): 93–111. http://dx.doi.org/10.5604/01.3001.0010.0177.

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The article presents the results of physico-chemical analyses of a few masonry mortar and whitewash samples taken in the mid-1990s from the Temple of Hatshepsut in Deir el-Bahari. The mineralogical characteristic of the samples contributes to the body of knowledge on the composition of these masonry mortars and their structure, while at the same time encouraging further research on a greater number of samples.

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Barwik, Mirosław. "A “ghost” fragment from the chapel of Tuthmosis I in the Royal Mortuary Cult Complex of the Hatshepsut Temple." Polish Archaeology in the Mediterranean XXIV, no. 2 (2016): 43–59. http://dx.doi.org/10.5604/01.3001.0010.0169.

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A peculiar drawing of a part of the decoration of the Royal Mortuary Cult Complex in the Hatshepsut temple at Deir el-Bahari, as copied once by Johannes Dümichen, is the subject of this paper. Its comparison with existing relief fragments leads to the conclusion that the plate in question is the result of an artificial juxtaposition of two disparate fragments of wall decoration from the Royal Mortuary Cult Complex.

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Stupko-Lubczynska, Anastasiia. "The Author Takes a Bow: A Self-Portrait in Assistenza in the Temple of Hatshepsut at Deir el-Bahari." Arts 13, no. 5 (2024): 142. http://dx.doi.org/10.3390/arts13050142.

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In art-historical terms, a self-portrait in assistenza refers to an artist having inserted their own likeness into a larger work. In Renaissance-era art, more than 90 examples have been identified, famously including Botticelli’s Adoration of the Magi (c. 1478/1483). There, Botticelli glances out from the painting, making direct eye contact with the viewer, a feature that appears in other self-portraits of the type. In ancient Egypt, it was not commonly accepted that an artist would lay claim to it, especially when the work’s scale imposed diversification of tasks to be performed or teamwork o

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Hilliard, Kristina, and Kate Wurtzel. "Power and Gender in Ancient Egypt: The Case of Hatshepsut." Art Education 62, no. 3 (2009): 25–31. http://dx.doi.org/10.1080/00043125.2009.11519017.

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Springborg, Patricia. "Pandora and Hatshepsut: Ancient Archtypes in the iconography of kingship." Australian Journal of Political Science 26, no. 3 (1991): 488–509. http://dx.doi.org/10.1080/00323269108402163.

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Barwik, Mirosław. "Graffito of the Scribes of the Royal Necropolis of the 21st Dynasty from the Hatshepsut Temple at Deir el-Bahari." Zeitschrift für Ägyptische Sprache und Altertumskunde 147, no. 2 (2020): 131–40. http://dx.doi.org/10.1515/zaes-2020-0031.

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SummaryA hieratic graffito from the temple of Queen Hatshepsut refers to the names of the members of the well-known family of the scribes of the royal necropolis, descendants of the scribe Tuthmosis and his son Butehamun. This graffito can be dated to the period of the early 21st Dynasty, as at least three of the sons of Butehamun are mentioned here, alongside one of his grandsons by the name Meniunefer (III).

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Donohue, V. A. "The goddess of the Theban mountain." Antiquity 66, no. 253 (1992): 871–85. http://dx.doi.org/10.1017/s0003598x00044793.

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The discovery of a colossal ‘statue group’ in the cliffs at Deir el-Bahri sheds new light on the ways in which pharaonic Egyptians experienced the dynamism of their physical environment, and made appeal to it in validation of royal legitimacy; suggests re-interpretation of the symbolic function of the memorial temple of Queen Hatshepsut; and defines a previously unrecognized tradition in rupestral architecture, spatially distributed from the Arabah to the Sudan.

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Kapiec, Katarzyna. "The Southern Chamber of Amun in the Temple of Hatshepsut at Deir el-Bahari: three seasons of epigraphic studies from 2013 to 2016." Polish Archaeology in the Mediterranean 26, no. 1 (2018): 205–18. http://dx.doi.org/10.5604/01.3001.0012.1777.

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The Southern Room of Amun Project is one of the egyptological projects of the PCMA’s Polish–Egyptian Archaeological and Conservation Mission in the Temple of Hatshepsut at Deir el-Bahari. The paper presents epigraphic work carried out in this room between 2014 and 2015, during which almost the entire wall decoration was recorded. The article is a wall-by-wall presentation, paying special attention to the most important transformations of the reliefs over time

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